Bibliography of Books Published in 2008 and of Some Books Published Earlier

BOOK NOTES

Bibliography of Books Published in 2008

and of Some Books Published Earlier

Kurt G. Siehr*

Advisory Committee on the Assessment of Restitution Applications for Items of Cultural Value and the Second World war (ed.). Report 2007. The Hague 2008. 84 pp., colored and black and white illustrations. No ISBN. No price. This is the latest report of the Dutch Restitution Committee. Under the new decree, the recommendations of the committee are binding, and a deadline for a “liberal-ized claim policy” has been set for April 4, 2007. After that date normal rules apply, as do normal statute of limitations. In 2007 there were 31 objects recommended to be granted and 22 objects rejected to be returned. In the report 16 recommendations are reproduced partially recommending the return and sometimes rejecting a return application.

Akinsha, Konstantin, Grigorij Kozlov, and Sylvia Hochfield. The Holy Place. Architecture, Ideology, and History in Russia. New Haven: Yale 2007. XII, 212 pp., with 59 colored illustrations. ISBN 978-0-300-11027-2. $38.00. This book surveys two centuries of Russian history through a succession of ambitious architectural projects designed for a single construction site in central Moscow. Tsars, Bolshevik rulers, and contemporary Russian leaders alike have dreamed of glorious monuments to themselves and their ideologies on this site. The history of their efforts reflects the story of the na-tion itself and its repeated attempts to construct or reconstruct its identity and to repudiate or re-suscitate emblems of the past. In the nineteenth century, Tsar Alexander I (1801–1825) began to construct the largest cathedral (and the largest building) in the world at the time. His successor, Nicholas I (1825–1855), changed both the site and the project. The Cathedral Christ the Saviour was completed by Tsar Alexander III (1881–1894). It was demolished by Stalin in the 1930s to make way for the tallest building in the world, the Palace of Soviets, but that project was ended by World War II. During the Khrushchev years, the excavation pit was transformed into an outdoor heated swimming pool, the world’s largest, of course; but under Yeltsin’s direction, the pool was replaced with the reconstruction of the destroyed cathedral. The book explores each project intended for this ideologically charged site and documents with illustrations the grand projects that were built as well as those that were only dreamed.

Andersen, Wayne. German Artists and Hitler’s Mind. Avant-garde Art in a Turbulent Era. Boston: Fabriart 2007. XI. 443 pp., with 161 black and white illustrations. ISBN-13: 978-0-9725573-2-0. $30.00. Andersen (professor emeritus of history, theory and criticism at the Massachusetts Institute of Tech-nology) aligns his provocative approach to radical issues that established in Germany the essential first wave of twentieth-century avant-garde art and culture. His ideas leave the reader unsettled as to modern art’s role in a moral society. He shatters the protective shield that art historians throw up to exalt and deify artists against displays of their own behavior. Insisting that German art is masculine and prone to violence, Andersen formulates an explanation for how artists and defensive art critics *University of Zürich Faculty of Law, Max-Planck-Institute, Hamburg. Email: [email protected]

convert violence into art as a pretense to mirroring society. He associates Lustmord (sex-murder) imagery in German art, theatre, and cabaret entertainment with the sexuality of war. He sees Ger-mania’s primal barbarism in German painting infused with the rise of Germany’s Nacktkultur (nud-ist cults). A desensitizing nakedness replaces sublimated nudity. The innocent nakedness of youth offers an opportunity for cultural renewal and a symbol of physical power. In turn, Andersen aligns artistic and cultic-nakedness with Hitler’s intention to strip civilization down to the nakedness of Eve in the primordial garden—to restart human life without the stigma of sin and guilt. “Artists who produced ‘degenerate art’ . . . [were] the same artists who degenerated art in order to restore its pre-civilization purity” (pp. 15–16). An amazing book!

Arnade, Peter. Beggars, Iconoclasts, and Civic Patriots. The Political Culture of the Dutch Revolt. Ithaca: Cornell University Press 2008. XVI, 352 pp., many black and white illustrations. ISBN 978-0-8014-7496-5. $26.95. The sixteenth-century Low Countries were northern Europe’s most urbanized zone, home to great commercial centers and vibrant small towns. By the time of Charles V’s (1516–1556) abdication in 1556, the Low Countries had a population of about 3 million, with two-thirds of the Netherlanders settled in the provinces of Brabant, Flanders, and Holland, where half of the inhab-itants were townspeople. The metropolis of Antwerp bustled with some 100,000 inhabinhab-itants in 1560. Kings who did not recognize the power and extent of this terrain risked imperilling their lordship. In 1539 the insurrection against Charles V failed. The Dutch revolt was launched in 1563 as a set of grievances lodged by the nobility in the Habsburg Netherlands against incursions into the spheres of privilege and against the strict religious persecution of Protestants. Already under duress, Habsburg political authority collapsed during the sprawling iconoclastic riots of 1566 and 1568. Benchmarks of historic events included the repudiation of Philippe II’s (1556–1598) sovereignty by the States General of the Netherlands in 1581; the death of William of Orange in 1584; Spanish reconquest of southern territories, including Flanders and Brabant by 1585; the 12-year truce from 1609 to 1621 between Spain and the United provinces; and final recognition of the sovereign authority of the United Provinces by Philippe IV’s (1621–1665) government in 1648. The noble members of the Order of the Compromise adopted the satirical insignia as beggars. This is the background of the study of Dutch history in the sixteenth century with the revolt against the Emperor and the Habsburg monarchy with Margaret of Parma, Charles V’s daughter as regent of the low Countries (1559–1567), and Prince Alba as her successor.

Avril-Bodenheimer, Jean-Baptiste. Tel Aviv 100. A Photographer’s Journey through Architecture. The Heder: Tel Aviv 2008. 74 pp., many illustrations. ISBN 978-965-91341-0-6. $10.00. The City of Tel Aviv celebrates in 2009 one century of Tel Aviv and for this celebration published a book of the Bauhaus-style of the new city built by many architects.

Báez, Fernando. A Universal History of the Destruction of Books. From Ancient Sumer to Modern Iraq. New York: Atlas 2008. XIII, 355 pp., 15 black and white illustrations. ISBN-13: 978-1-934633-01-4. $25.00 This is the English translation of the book Historia universal de la destrucción de libros: De la tablillas sumerias a la Guerra de Irak published by Báez, the director of Venezuela’s National Library in Caracas. In three parts the learned author describes the destruction of books in the ancient world, in the time from Byzantium to the nineteenth century, and finally from the twentieth century to the present. In a 12-year labor, the author gathers news from the old world, including the destruction of the scrolls in China in 213 b.c.e. by Qin Shi Huang and the fire that destroyed the library of Alex-andria in 48 b.c.e.. The second part is devoted to the time of religious fights and revolutions until the nineteenth century. Books got lost through disasters like the fire in Copenhagen with destruc-tion of a large part of the Magnusson library in 1728 and in Washington with the destrucdestruc-tion of the Library of Congress in 1814. But books were also destroyed by iconoclasm and fights against the incorrect religion and not sacred books. Even monks (like Savonarola) wanted to purify Florence and burned in a “bonfire of the vanities” “dirty” books of Dante and other authors on February 7, 1497. The last part deals with modern times. Here we find the Nazi book burning in 1933, the de-struction of books in the Far East, the burning of the National Library of Bosnia-Herzegovina in Sarajevo on August 25, 1992, and the Iraq war with losses of museums and libraries. In his very fine

introduction, the author quotes a beautiful poet who said, “Each destroyed book is a passport to hell.”

Bayerische Staatsbibliothek (ed.). Die Ottheinrich-Bibel. Das erste illustriertte Neue Testament in deut-scher Sprache [The Ottheinrich Bible. The First Illustrated New Testament in German Language]. Mu-nich: Bayerische Staatsbibliothek 2008. 215 pp., many colored illustrations. No ISBN. Order No. 22043-4. Y29.90. The Ottheinrich Bible was started in 1430 under the Duke Ludwig VII (der Bär-tige) (1413–1443) and is named after Elector and Count Palatine Ottheinrich of Palatine (1507– 1559), because under him the Bible was finished. There are eight volumes of the Bible of which, since 1950, three volumes were held by the Bavarian State Library in Munich. The other five vol-umes were owned by Duke of Saxony-Gotha and the Gotha Foundation for Art and Science, who wanted to sell these volumes with Sotheby’s on December 4, 2007. On November 30, 2007, the Bavar-ian State Library successfully bought these five volumes from the owners with sponsors from vari-ous sources. Thanks to this acquisition, at the last moment these volumes could be saved from being sold to private collectors and scattered around the world. The Ottheinrich Bible is now exhibited in Munich, and this book will serve as a sort of catalog for this exhibition.

Beard, Mary. The Fires of Vesuvius. Pompeii Lost and Found. Cambridge, MA: Belknap 2008. VII, 360 pp., with 23 colored and 113 black and white illustrations. ISBN 078-0-674-02976-7. $26.95. The author, holder of the chair of classics at Cambridge and fellow of Newnham College, tells the story of Pompeii—the most famous archaeological site in the world, visited by more than 2 million peo-ple every year. These numbers, however, tend to ruin the place full of ruins. Destroyed by Vesuvius in 79 c.e., the ruins of Pompeii offer the best evidence we have of life in the Roman Empire. But the eruptions are only part of the story. In the book the author makes sense of the remains. She explores what kind of town it was—more like Calcutta or the Costa del Sol—and what it can tell us about ordinary life there: from sex to politics, food to religion, slavery to literacy. The author offers the reader the big picture even as she takes the reader close enough to the past to smell the bad breath and see the intestinal tapeworms of the inhabitants of the lost city. She resurrects the Temple of Isis as a testament to ancient multiculturalism.

Bell, Catherine, and Val Napoleon (eds.). First Nations Cultural Heritage and Law. Case Studies, Voices, and Perspectives. Vancouver: UBC Press 2008. XV, 521 pp. ISBN 978-0-7748-1462-1. $28.59. Indig-enous people around the world seek greater control over tangible and intangible cultural heritage. In Canada issues concerning repatriation and trade of material culture, heritage site protection, treat-ment of ancestral remains, and control over intangible heritage are governed by a complex legal and policy environment. This book is the first of two interdisciplinary volumes exploring First Nations perspectives on cultural heritage and issues of reform within and beyond Western law. Written in plain language and in collaboration with First Nation partners, it contains seven case studies fea-turing indigenous concepts, legal orders, and encounters with legislation and negotiations; a na-tional review essay; three chapters reflecting on major themes; and a self-reflective critique on the challenges of collaborative and intercultural research.

Bernhardsson, Magnus T. Reclaiming a Plundered Past. Archaeology and Nation Building in Modern Iraq. Austin: University of Texas Press 2005. XI, 327 pp., some black and white illustrations. ISBN 0-292-70947-1. $45.00. The looting of the Iraqi National Museum in April 2003 provoked a world outcry at the loss of artifacts regarded as part of humanity’s shared cultural patrimony. Although the losses were unprecedented in scale, the museum looting was hardly the first time that Iraqi heirlooms were plundered or put to political uses. From the beginning of archaeology as a modern science in the nineteenth century, while still part of the Ottoman Empire, Europeans (British, French, Ger-mans, and later Americans) excavated and appropriated Iraqi antiquities as relics of the birth of Western civilization (i.e., Henry Austen Layard, 1817–1894, began his excavation at Nimrud in 1845). During the Mandate period (1921–1932), the British dominated in Iraq where Gertrude Bell was director of antiquities. The system of dividing the finds still prevailed until new legislation was passed in 1936 declaring all antiquities to be government property. In 1926 the National Museum was

founded, and in 1932 the Iraq became independent. In 1934 Sati’ al-Husri became director of an-tiquities in Iraq (until 1941) and tried to get back Iraqi anan-tiquities that had left the country in for-mer years (especially the Samarra collection from the British Museum). The author shows how Iraq’s control over its archaeological patrimony was directly tied to the balance of political power and how it increased as power shifted to the Iraqi government. Finally, he examines how Iraqi leaders, in-cluding Saddam Hussein, have used archaeology and history to legitimate the state and its political actions.

Bertz, Inka, and Michael Dorrmann (eds.). Raub und Restitution. Kulturgut aus jüdischem Besitz von 1933 bis heute [Robbery and Restitution. Cultural Objects of Jewish Possession from 1933 until Today]. Berlin: Stiftung Jüdisches Museum 2008. 325 pp., with many black and white and some colored illustrations. ISBN 978-3-8353-0361-4. Y24.90. This is the catalog to the exhibition in the Jewish Museum in Berlin and Jewish Museum in Frankfurt, Main, which exhibits, under the same title as the catalog, the looting and persecution of Jewish citizens during the Nazi era and the restitution efforts from that time until today. The catalog contains four different parts devoted to general essays on restitution (Dan Diner and Constantin Goschler); on actors such as art dealers, provenance re-search, museums, and attorneys (i.e., by Stefan Koldehoff, Henrik Hanstein, Uta Haug, Michael Nau-mann, Norbert ZimmerNau-mann, and Peter Raue); on 15 case studies; and on 17 essays about background information. The 15 case studies deal with the collections of Curt Glaser, Ismar Littmann, Louis von Rothschild, Victor von Klemperer, Arthur Schnitzler, and Jacques Goudstikker. The 17 essays on back-ground information consider art trade in Germany (Anja Heuss), the Linz Museum project of Hitler (Birgit Schwarz), Central Art Collecting Point in Munich (Iris Lauterbach), restitution in Austria (Sophie Lillie), restitution in France (Isabelle le Masne de Chermont and Laurence Sigal-Klagsbald), and the Washington Conference Principles of 1998 (Michael J. Bazyler).

Bilski, Emily D. Die “Moderne Galerie” von Heinrich Thannhauser. The “Moderne Galerie” of Hein-rich Thannhauser. München: Minerva 2008. 72 pp., many colored and black and white illustrations. ISBN 978-3-938832-27-1. Y12.00. This is the bilingual catalog of an exhibition in the Jewish Mu-seum in Munich. Thannhauser’s Moderne Galerie is best known as the site of the first Blue Rider exhibition of 1911. Heinrich Thannhauser (1859–1935) came to Munich as a boy, tried his hand at various occupations, and finally became a partner in an art gallery. In 1909 he opened his own business, which became famous for the “most beautiful exhibition spaces in Munich.” Thannhauser hosted French Impressionists and post-Impressionists, and organized the first retrospective of Pi-casso in 1913. In response to deteriorating conditions in Munich in the late 1920s, Heinrich’s son, Justin K. Thannhauser (1892–1975), closed the gallery and shifted the base of operations to Berlin. When the Nazis came into power, Justin moved his business to Paris and eventually to New York. Today the Thannhauser name and works from the private collection amassed by father and son lives on in the Thannhauser Wing of New York’s Guggenheim Museum.

Bischoff, Cäcilia. Das Kunsthistorische Museum. Baugeschichte, Architektur, Dekoration [The Museum of Art History. History of the Building, Architecture, Decoration]. Wien: Brandstätter 2008. 259 pp., with many colored illustrations. ISBN 978-3-85033-214-9. Y39.90. This book by an art historian deals with the history of the building, with the plans by various architects (i.e., Gottfried Semper) and decorations by sculptors and painters such as Hans Makart and Gustav Klimt.

Bödeker, Hans Erich, and Gerd-Josef Bötte (eds.). NS-Raubgut, Reichstauschstelle und Preussische Staats-bibliothek. Vorträge des Berliner Symposiums am 3. und 4. Mai 2007 [NS-Confiscated Objects, Ex-change Authority of the Reich and Prussian State Library. Lectures of the Berlin Symposium on 3 and 4 May 2007]. München: Saur 2008. VIII, 171 pp., with some black and white illustrations. ISBN 978-3-598-11777-0. Y38.00. Ten papers of the conference held in Berlin in May 2007 are reproduced and published in this volume. The object of all of these papers is the confiscation of private libraries during the Nazi period, the Exchange Authority of the Reich (Reichstauschstelle), public libraries and the return of confiscated books to the former owners or their heirs. Also the place of the Aus-trian National Library as well as some university libraries (Marburg, Tübingen) is discussed.

Boser, Ulrich. The Gardner Heist. The True Story of the World’s Largest Unsolved Art Theft. New York: Collins 2008. XII, 260 pp., 8 colored illustrations. ISBN 978-0-06-145183-6. $17.15. Shortly after midnight on March 18, 1990, two men broke into the Isabella Stewart Gardner Museum in Boston and committed the largest art heist in history. They stole a dozen masterpieces, including one Ver-meer, three Rembrandts, and five Degas. After thousands of leads, hundreds of interviews, and a $5-million reward, not a single painting has been recovered. Worth a total of $500 million, the miss-ing masterpieces have become the Holy Grail of the art world and one of the nation’s most extraor-dinary unsolved mysteries. Art detective Harold Smith (1926–2005) worked on the theft for years, and after his death, reporter Ulrich Boser inherited his case files. Traveling deep into the art under-world, Boser explores Smith’s unfinished leads and comes across a remarkable cast of characters, including the brilliant rock ’n’ roll art thief, the golden-boy gangster who professes his innocence in rhyming verse; the deadly mobster James “Whitey” Bulger; and the Boston heiress Isabella Stewart Gardner, who stipulated in her will that nothing should ever be changed in her museum, a provision followed so closely that the empty frames of the stolen works still hang on the walls. Boser eventu-ally cracked one of the biggest mysteries of the case and uncovers the identities of the man who robbed the museum nearly two decades ago.

Bosman, Suzanne. The National Gallery in Wartime. London: National Gallery Company 2008. 127 pp., many black and white illustrations. ISBN 978-1-85709-424-4. $24.95. In August 1939 the National Gallery’s Collection was in danger. War was imminent, with the grim possibility looming of satura-tion bombing of London. Days before war was declared, the Nasatura-tional Gallery closed its doors to the public and secretly evacuated the paintings under the guidance of Director Kenneth Clark (1903– 1983, 1933–1946 director). The collection was initially hidden in selected country houses but was later relocated for permanent storage in the cavernous chambers of a disused quarry, deep in the Welch mountains. The gallery—now empty—stayed open to house a popular series of music con-certs fronted by internationally acclaimed pianist, Myra Hess (1890–1965). Despite significant risk the gallery remained open throughout the blitz, also opening a canteen and temporary display space, bringing culture and solace to Londoners. Richly illustrated, this book brings together previously unseen material from the National Gallery’s archive with evocative black and white photographs in a fascinating account of how the National Gallery functioned during this eventful period. Bouchoux, Corinne. Rose Valland. La résistance au musée [Rose Valland. The Resistance in the Mu-seum]. La Crêche: Geste/Archives de vies 2006. 134 pp. ISBN 978-2-84561-236-2. Y17.00. Rose Val-land (1898–1980) was a curator of the Muséé Jeu de Paume, and during the German occupation of Paris, she secretly recorded which artworks left France and where they went. After World War II she joined the German authorities in charge of restitution of looted art and helped locate and recover French art treasures to be returned to France. This book tells about Rose Valland and her life until she passed away in 1980.

Branchesi, Lida (ed.). Heritage Education for Europe. Outcome and Perspective. Rome: Armando 2007. 223 pp., with more than 100 black and white and colored illustrations. ISBN 978-88-6081-002-1. Y25.00. This book is the fruit of long-standing cooperation between the Council of Europe and the Italian Na-tional Institute for the Evaluation of Education and Training System (Istituto Nazionale per la Valutazi-one del Sistema Educativo di IstruziValutazi-one e di FormaziValutazi-one [INVALSI] ) in Frascati, Rome. The Italian evaluation institute, in agreement with the Council of Europe, has over almost three years collected, analyzed, and evaluated programs, activities, and policy documents relating to the heritage education promoted by the Council of Europe between 1989 (compare with the Recommendation No R [98] 5 of the Committee of Ministers of March 17, 1998, to member states concerning heritage education) and the more recent Europe from One Street to the Other (EOSO) project. The evaluation process has involved young people, teachers, coordinators, and head teachers from more than 20 European coun-tries. Twelve papers reproduced in this book discuss these interesting activities all over Europe. Bredekamp, Horst. Bilder bewegen. Von der Kunstkammer zum Endspiel [Moving Paintings. From the Art Chambers to the Final]. Berlin: Wagenbach 2007. 255 pp., with many black and white

illustra-tions. ISBN 978-3-8031-2557-6. Y13.90. These collected essays of the art historian of Humboldt Uni-versity Berlin range from ancient time, art chambers, pope’s hat, and soccer as a “Gesamtkunstwerk.” Brink, Peter van den (ed.). Suermondt-Ludwig-Museum Aachen. Bestandskatalog der Gemäldegalerie. Schattengalerie: Die verlorenen Werke der Gemäldesammlung [Suermondt-Ludwig-Museum Aachen. Catalogue of the Picture Gallery. Shadow-Gallery: The Lost Objects of the Collection of Paintings]. München: Hirmer 2008. 400 pp., with 285 black and white illustrations. ISBN 978-3-7771-4305-8. Y45.00. The Suermondt-Museum was founded in 1901 when the Museum Association moved to the palazzo Suermondt in Aachen (Aix-la-Chapelle) and there exhibited the paintings donated to the association by Barthold Suermondt. During World War II, the collection was protected in depots located in Eastern Germany, especially in Meissen, Saxony. Many of the museum’s paintings were lost and nobody knew whether they were destroyed or looted by the Soviet Army. For the first time the catalog published a complete survey of the losses of the Suermondt-Ludwig-Museum. Around the turn of the years 2008 to 2009, it became known that approximately 70 paintings of Aachen are in the Art Museum of Simferopol in the Ukraine. January 29–31, 2009, the museum held a sympo-sium on “Beutekunst” and discussed the losses caused by the Trophy Brigades of the Soviet Army and the legal problems of restitution to Germany.

Brühl, Friederike Gräfin von. Marktmacht von Kunstexperten als Rechtsproblem. Der Anspruch auf Erteilung einer Expertise und auf Aufnahme in ein Werkverzeichnis [Market Power of Art Experts as Legal Problem. The Claim to Give an Expert Opinion and of Inclusion into a Catalogue Raisonnée]. Köln: Heymanns 2008. XVII, 278 pp. ISBN 978-3-452-26922-5. Y62.00. This is a doctorate thesis submitted and accepted by the Université de Lausanne, Switzerland. The author tells us that an ex-pert may be obliged to write an exex-pert opinion, but there is no claim as to the result of this exex-pert opinion. Von Brühl mainly deals with German law and, correctly, refuses to give a claim to insert a work of art into a Catalogue Raisonné as an original of the artist. This would violate the expert’s right to have his own opinion and the freedom of speech in general. According to von Brühl the obligation to write an expert opinion is based on German antitrust law, because the expert may be a monopolist and be obliged to render his or her services with no obligation as to the result. Buhrs, Michael (ed.). Secession. Die Münchener Secession 1892–1914 [Secession. The Munich Secession 1892–1914]. Munich: Minerva 2008. 295 pp., with many colored and black and white illustrations. ISBN 978-3-938832-33-2. Y37.00. At the end of the nineteenth century, academic painting and ac-ademic art exhibitions became unpopular with younger artists and their art dealers. In major cities artists seceded from the official art scene and established so-called secessions. This book, a catalog of an art exhibition in Munich, reprints the “Memorandum of 21 June 1892 of the Association of Vi-sual Artists of Munich” and explains why this association split from the MKG (Münchener Kün-stlergenossenschaft, or Munich Artists Co-operative).The new artists wanted to expand, invite foreign guests, and be more international. After listing the members of this group (i.e., Fritz von Uhde, Franz von Stuck, Max Liebermann), the various styles of the artists are examined (Gründerzeit, im-pressionism, art nouveau, and symbolism). Also foreign guests from France (Corot, Manet, Gau-guin), The Hague (Israëls, Maris), Sweden and Norway (Larsson, Zorn), and Glasgow (Guthrie) are mentioned. Sculptures were exhibited in 1893. A short paper on Secessions in Munich, Berlin, and Vienna illustrate the new movement. At the very end the article, “Munich Secession and America,” draws the attention to Hugo Reisinger, Josef Stránsky, and Charles and Emma Frye of Seattle and the Frye Collection in that town.

Butenschön, Marianna. Ein Zaubertempel für die Musen. Die Ermitage in St. Petersburg [A Magic Temple for the Muses. The Hermitage of St. Petersburg]. Köln: Böhlau 2008. 411 pp., many black and white illustrations. ISBN 978-3-412-20102-9. Y29.90. The founding of the Hermitage is fixed at 1764 when Tsarina Catharine II (1762–1796) bought the first paintings for a royal collection to be exhib-ited in St. Petersburg. Since then the art collection has grown to one of the world’s largest and most important art collections. The book tells the story of the Hermitage as the private collection of the Tsars, under the Soviet regime with the sale of paintings to Andrew W. Mellon and Calouste Sarkis

Gulbenkian, the saving of the collection during World War II and the siege of Leningrad by the German Army and under the postwar era with the exhibition of displaced German art objects taken from German museums and collections as “compensatory restitution.”

Caamiña Domínguez, Celia M., Conflicto de jurisdicción y de leyes en el tráfico ilícito de bienes cul-turales [Conflict of Jurisdiction and of Laws in Illicit Trade of Cultural Property]. Madrid: Colex 2007. 326 pp. ISBN 978-84-8342-094-2. Y43.00. This is a doctoral thesis submitted and accepted with hon-ors by the University Carlos III of Madrid. The author analyzes first the EC Directive 93/7/EEC of March 15, 1993, on the return of cultural objects unlawfully removed from the territory of a mem-ber state implemented in Spain by the Act 36/1994 of Decemmem-ber 23, 1994. Also the UNIDROIT Convention of June 24, 1995, on Stolen or Illegally Exported Cultural Objects, ratified by Spain in 2002, is presented before she turns to the second part of her thesis on jurisdiction and conflict of laws. Within the European Union, jurisdiction of courts is fixed by the Brussels I Regulation 44/2001 of December 22, 2000, on jurisdiction and the recognition and enforcement of judgments in civil and commercial matters. This instrument does not provide jurisdiction at the location where an object is located. If this instrument is not applicable, national law fixes jurisdiction, in Spain the Organic Law 6/1985 of July 1, 1985, on judicial power (Poder Judicial ). The law applicable to return proceedings is not yet unified in Europe. National conflicts rules decide on the governing law. This is normally the lex rei sitae for proceedings in rem. At the end of her thesis, Caamiña Domínguez discusses article 12 of the Directive 93/7/EEC providing that “ownership of the cultural object after return shall be governed by that law of the requesting Member State.” This is qualified as the intro-duction of the lex originis for cultural objects.

Cavazzini, Patrizia. Painting as Business in Early Seventeenth-Century Rome. University Park: Penn-sylvania State University Press 2008. XV, 239 pp., with 71 black and white and colored illustrations. ISBN 978-0-271-03215-3. $69.69. This book offers a new perspective on the world of painting in Rome at the beginning of the Baroque from both artistic and socioeconomic points of view. Biased by the accounts of seventeenth-century biographers who were often academic painters concerned about elevating the status of their profession, art historians have long believed that in Italy, and in Rome in particular, paintings were largely produced by major artists working on commission for the most important patrons of the time. The author’s extensive archival research reveals a substantially different situation. She presents lively and colorful accounts of Roman artists’ daily lives and ap-prenticeships and investigates the vast, popular art market that served the aesthetic, devotional, and economic needs of artisans and professionals and of the laboring class. The book reconstructs the universe of painters, collectors, and merchants and alters our understanding of the business of paint-ing durpaint-ing a key period in Italian art history.

Cerbella, Marco. I falsi. Come riconoscere nell’arte e nell’antiquariato [The Fakes. How to Discover Them in Art and with Art Dealers]. Roma: Bracciali 2008. X, 212 pp., with hundreds of colored and black and white illustrations. ISBN 978-86-62360-11-1. Y39.00. In the first part of this book, the ex-forger Marco Cerbella discusses fakes since ancient times until the newest fakes of the twentieth century. He includes the Italian forgers of the eighteenth and nineteenth centuries, the Kouros of Getty, and the doubts about the throne of Ludovisi. In the second part of the book, he gives some advice how to discover fakes. The objects are listed alphabetically from acquaforte to zaffera. Clark, Robert. Dark Water. Flood and Redemption in the City of Masterpieces. New York: Doubleday 2008. 354 pp., with some black and white illustrations. ISBN 978-0-7679-2648-5. $26.00. On No-vember 4, 1966, Florence was struck by a huge flood of the Arno River. After having recalled floods of previous centuries, Robert Clark tells the story of November 1966 and the damage done to art-work of Florence.

Crowley, Roger. Konstantinopel 1453. Die letzte Schlacht [Constantinople, The Last Great Siege, 1453]. Stuttgart: Theiss 2008. 284 pp. ISBN 978-3-8062-2191-6. Y22.90. This is the German translation of the English original published in 2005 by the publisher Faber and Faber Co. It carefully describes the siege and fall of Constantinople and the destruction of the old city.

Cuno, James. Who Owns Antiquity? Museums and the Battle over Our Ancient Heritage. Princeton: University Press 2008. XXXVII, 228 pp., with some black and white illustrations. ISBN-13: 978-0-691-13712-4. $24.95. Whether antiquities should be returned to the countries where they were found is one of the most urgent and controversial issues in the art world today, and it has pitted museums, private collectors, and dealers against source countries, archaeologists, and academics. Maintaining that the acquisition of undocumented antiquities by museums encourages the looting of archaeo-logical sites, countries such as Italy, Greece, Egypt, Turkey, and China have claimed ancient artifacts as state property, called for their return from museums around the world, and passed laws against their future export. But in this book, one of the world’s leading museum directors vigorously chal-lenges this nationalistic position, arguing that it is damaging and often disingenuous. “Antiquities are the cultural property of all humankind, evidence of the world’s ancient past and not that of a particular modern nation. They comprise antiquity, and antiquity knows no borders.” Cuno further argues that nationalistic retention and reclamation policies impede common access to this common heritage and encourages a dubious and dangerous politicization of antiquities—and of culture itself. Antiquities must be protected from looting but also from nationalistic identity politics. To do this Cuno calls for measures to broaden rather than restrict international access to antiquities. He ad-vocates restoration of the system under which source countries would share newly discovered arti-facts in exchange for archaeological help, and he argues that museums should again be allowed reasonable ways to acquire undocumented antiquities.

Darraby, Jessica L. Art, Artifact, Architecture & Museum Law, Volume 1: Chapters 1–15, St. Paul, MN; Thomson West 2008, LXXI, 946 pp. ISBN 978-0-314-98015-1. $289.00. This is a textbook, not a casebook, on 15 different aspects of art and museum law. The author is a lawyer and deals with fundamentals of art law, trade practices, valuation and appraisal, Uniform Commercial Code, auction, international trade, copyright, trademark and unfair competition, artists’ rights, funda-mentals of exhibition and display, art fraud, multiples, archaeology and artifacts, historic preser-vation and conserpreser-vation, rights of privacy, and publicity. The second volume comprises the appendices consisting of surveys, national and federal statutes, conventions, IRS forms, treaties, European Union regulations and directives, codes of ethics, the Washington Conference Principles, reports, and bibliographies.

Deutsch-Russischer Museumsdialog (ed.). Verlust + Rückgabe [Loss + Restitution]. Berlin: Reiter-Druck 2008. 40 pp., many colored illustrations. No ISBN. No price. This booklet was published at the occasion of the 50th anniversary of the return of German artworks from Russia in 1955 and 1958. Twenty-eight German museums recalled the happy return of their treasures and, at the same time, complained about the art objects still withheld in Russia.

Dolnick, Edward. The Forger’s Spell. A True Story of Vermeer, Nazis, and the Greatest Art Hoax of the Twentieth Century. New York: Harper 2008. XIII, 349 pp., with 33 colored and many black and white illustrations. ISBN 978-0-06-082541-6. $17.79. This book is the story of Johannes Vermeer and the small-time Dutch painter who dared to impersonate him centuries later. For seven years a no-account painter Han van Meegeren (1889–1947) managed to pass off his paintings as those of one of the most beloved and admired artists who ever lived. But the author reveals the reason for the forger’s success. It was not his artistic skill. Van Meegeren was a mediocre artist. His true genius lay in psychological manipulation, and he became within inches of fooling both the Nazis (Hermann Göring) and the art world (Abraham Bredius). Instead, he landed in an Amsterdam court on trial for his life.

Downs, Jonathan. Discovery at Rosetta. London: Constable 2008. XXV, 262 pp., 16 black and white illustrations and 4 maps. ISBN 978-1-84529-579-0. £ 16.99. This book tells the story of the Stone of Rosetta, the most prominent piece exhibited in the British Museum. The Stone was discovered in 1799 by French scientists accompanying Napoleon in his voyage to Egypt. After the defeat of the French army at Abukir in 1801, the stone had to be given to the British army as a trophy of war. The stone was shipped to England were it arrived in 1802 to be exhibited with Society of

Antiquar-ies and then in the British Museum. CopAntiquar-ies of the stone were sent to various institutions in Eu-rope, and the stone was later deciphered by Jean-François Champollion (1790–1832) and Thomas Young (1773–1829).

Eichhorn, Maren, Jörn Grabowski, and Konrad Vanja (eds.). Die Stunde Null—ÜberLeben 1945 [The Hour Zero—On Surviving 1945]. Berlin: Staatliche Museen 2006. 135 pp., many black and white and colored illustrations. ISBN 3-8321-7560-1. Y18.90. This exhibition catalog of an exhibition in Berlin-Dahlem depicts the destruction and the resurrection of 16 Berlin museums in 1945. Many objects exhibited and lost are shown as illustrations.

Emberling, Geoff, and Katharyn Hanson (eds.). Catastrophe! The Looting and Destruction of Iraq’s Past. Chicago: Oriental Institute Museum of the University of Chicago 2008. 87 pp., many colored illustrations. ISBN-13: 978-1-885923-56-1. $29.95. This is a booklet prepared as information about the looting in Iraq. Seven papers by McGuire Gibson, Donny George, John M. Russell, Katharyn Hanson, Clemens Reichel, Elizabeth C. Stone, and Patty Gerstenblith describe the bad situation in Iraq and tell us about the failure of the military and the difficulties archaeologist and civil servants (e.g., Mario Bondioli Osio) have in rescuing Iraq’s past, if there is any.

Faber, Wolfgang, and Brigitta Lurger (eds.). National Reports on the Transfer of Movables in Europe. Volume I: Austria, Estonia, Italy, Slovenia Munich: Sellier 2008. IX, 638 pp. ISBN 978-3-86653-073-7. Y59.00. This is the first of a series of national reports on basic issues concerning the acquisition and loss of ownership of movable assets, the series is planned to cover 27 European legal systems. It is a by-product of the research activities of the Graz and Salzburg working group, Transfer of Movables, within the Study Group on a European Civil Code. Starting with general property law issues like the concepts of ownership and possession employed in the respective legal systems, and the related means of protection, the reports primarily deal with the derivative transfer of ownership but extend to good faith acquisition from a nonowner, acquisitive prescription, processing and commingling, and further related issues. The reports provide the reader with detailed information about the respective rules, case law, and legal literature, prepared by national property law experts: Wolfgang Faber for Austria, Kai Kullerkupp for Estonia, Alessio Greco for Italy, and Claudia Rudolf, Vesna Rijavec, and Tomazˇ Kerestesˇ for Slovenia.

Francioni, Francesco, and Martin Scheinin (eds.). Cultural Human Rights. Leiden: Nijhoff 2008. VIII, 369 pp. ISBN 978-90-04-16294-5. Y115.00. What is the relationship between culture and human rights? Can the idea of cultural rights, which are predicated on the distinctiveness and exclusivity of a community’s beliefs and traditions, be compatible with the concept of human rights, which are universal and inherent to all human beings? If we accept such compatibility, what is the actual con-tent of cultural rights? Who are their beneficiaries, individuals or peoples or groups as collective entities? And what precise obligations do cultural rights pose on states or other actors in inter-national law, or for the interinter-national community as a whole? Interinter-national instruments on the pro-tection of human rights do not provide self-evident answers to these questions. Edited by Franceso Francioni of the European University Institute in Florence and Martin Scheinin of the Åbo Akademi University, this book seeks to analyze these dilemmas in 15 learned articles and to assess their effect on international law and the development of a coherent category of cultural rights.

Garber, Marjorie. Patronizing the Arts. Princeton: University Press 2008. XV, 234 pp. ISBN 978-0-691-12480-3. $24.95. This book is written by a teacher of English at Harvard University, a chairper-son of the Visual and Entertainment Studies Department and the director of the Carpenter Center for Visual Arts. The author shows that the relationship of artists with patrons can be problematic, leaving artists patronized—both supported with funds and personal interest, while being condescended to for vocations misperceived as play rather than serious work. Garber looks at the history of pa-tronage, explains how patronage has elevated and damaged the arts in modern culture, and argues for the university as a serious patron of the arts. She supports rethinking prejudices that oppose art’s role on higher education, rejects assumptions of inequality between the sciences and humanities, and points to similarities between the making of fine arts and the making of good science. She

examines issues of artistic and monetary value, and transactions between high and popular culture. She even asks how college sports could provide a new way of thinking about arts funding. Using vivid anecdotes and telling details, Garber calls passionately for an increased attention to the arts, not just through government and private support but as a core aspect of higher education. Gay, Peter. Die Moderne. Eine Geschichte des Aufbruchs [Modernism. The Lure of Heresy]. Frankfurt, Main: Fischer 2008. 654 pp., with some black and white and colored illustrations. ISBN 978-3-10-025911-0. Y24.90. This is the German edition of the American original mentioned supra.

Gay, Peter. Modernism. The Lure of Heresy. From Baudelaire to Beckett and Beyond. New York: Norton 2007. 610 pp., with some black and white illustrations. ISBN 978-0-393-05205-3. $35.00. Peter Gay, born in Berlin, professor of history at Yale University in New Haven, Connecticut, and, at present, director of the Center for Scholars and Writers at the New York Public Library, wrote a book on the history of the arts in the nineteenth and twentieth centuries. In separate chapters he deals with the founders of modernism (especially Gustave Flaubert, Charles Baudelaire, Alfred Lichtwark, Théo-phile Gautier, Oscar Wilde, Claude Monet, Gustave Caillebotte, and Paul Cézanne), art and sculp-ture (Marcel Duchamp, Pablo Picasso), novels and writing (especially Franz Kafka), music and dance (e.g., Arnold Schönberg, Igor Stravinsky, George Balanchine), architecture and design (e.g., Walter Gropius, Frank Lloyd Wright, Ludwig Mies van der Rohe, Le Corbusier) and theater and movie (Sergei Eisenstein, Charlie Chaplin, Orson Welles). The last three chapters are devoted to “barbari-ans and eccentrics” (Adolf Hitler, Josef Stalin), to the life after death (American pop-art), and finally to Frank O. Gehry and the Guggenheim museum in Bilbao. This is a cultural history of the recent past.

Graf, Bernard, and Isabel Pfeiffer-Poensgen (eds.). Positionen zum Thema: Gibt es ein Patrimonium der Deutschen? [Positions on the Subject Matter: Is there a Patrimony of the Germans?]. Berlin: G⫹ H Verlag 2008. 95 pp., many black and white and colored illustrations. ISBN 978-3-940939-08-1. Y14.80. This volume publishes the 14 papers given at a colloquium of the State Museums of Berlin and of the Culture Foundation of the States (Kulturstiftung der Länder) in the Bode Museum and the Alte Museum on January 20, 2006. All participants refer to the creation of museums since the eighteenth century and the competition to collect as many cultural objects as possible. This way, big national museums of universal ambitions were established and maintained at high costs as illustrated in the evening lecture by Neil MacGregor, director of the British Museum in London. The German lectur-ers describe the task to collect, preserve, and make known German cultural property and colleagues from Italy (Maria Vittoria Marini Clarelli, Galleria nazionale d’arte moderna in Rome), France (Thomas W. Gaehtgens, Centre allemand d’histoire de l’art), England (Neil MacGregor), Poland (Ra-doslaw Mleczko, National Museum Warsaw), and Japan (Yoichi Shimizu, Japan Foundation in Mu-nich) give their view on national patrimony. In end there was some scepticism about “national” patrimony. Today museums care for the past of their own country and for the past of mankind at large.

Graw, Isabelle. Der Grosse Preis. Kunst zwischen Markt und Celebrity Kultur [The Big Price. Art Be-tween Market and Celebrity Culture]. Cologne: Dumont 2008. 256 pp. ISBN 978-3-8321-9007-1. Y19.90. Art critic and professor of art theory in Frankfurt, Main, at the State University of Visual Arts (Städels-chule), Graw describes recent developments in art trade where the symbolic value is going to be mixed with the market value.

Halsdorfer, Alice. Privat-und kollisionsrechtliche Folgen der Verletzung von Kulturgüterschutznormen auf der Grundlage des UNESCO-Übereinkommens 1970 [Consequences of Private Law and Private International Law with Respect to Violations of Rules Protecting Cultural Objects under the 1970 UNESCO Convention]. Frankfurt am Main: Lang 2007. 427 pp. ISBN 978-3-631-57503-1. Y68.50. Germany ratified the 1970 UNESCO Convention on the Means of Prohibiting and Preventing the Illicit Im-port, Export and Transfer of Ownership of Cultural Property and passed the implementing statute of May 18, 2007. In her doctoral thesis submitted and accepted by the University of Cologne, Hals-dorfer ably defines the consequences of this new situation in Germany. The first chapters are

de-voted to the validity of any contract with respect to cultural objects to be illegally exported under European or international law. Such a contract is void because the export of the object is prohibited if under the contract the object should not be exported without export licence. Under EC Regula-tion No. 1210/2003, trade in antiquities of Iraq is strictly forbidden, and therefore any contract on such items is null and void ab initio. The second part of the thesis treats the in rem consequences of illegal contracts with respect to cultural objects. If no bona fide purchase with an innocent buyer has taken place, the object may be recovered by the original owner, and the state of origin may ask for return in any case, even if there was a bona fide purchase. In international contracts it must be decided whether national export bans with respect to cultural property should be qualified as man-datory provisions under article 7 (1) of the 1980 Rome Convention or article 34 EGBGB (German provisions on private international law). Also article 12 of the Directive 93/7/EEC on the law gov-erning cultural objects “after the return to the State of origin” is discussed extensively. Finally, Hals-dorfer inquires whether German export prohibitions might be recognized and enforced in New York (unlikely, because of reciprocity, treated at the end of the thesis), in Switzerland (no, because there is no bilateral agreement necessary under Swiss law), and in Italy (yes, because of European law based on the Directive 93/7/EEC of March 15, 1993).

Harmon, David, Francis P. McManamon, and Dwight T. Pitcaithley (eds.). The Antiquities Act. A Century of American Archaeology, Historic Preservation, and Nature Conservation. Tucson: University of Arizona Press 2006. X, 326 pp., approximately 20 black and white illustrations. ISBN 0-8165-2561-7. $19.95. In 1906 the U.S. Antiquities Act was passed during the presidency of Theodore Roo-sevelt. Sixteen articles deal with the history and life of this important act as well as the various proclamations of certain regions as national monuments. Already in 1906 Roosevelt proclaimed the first national monuments (i.e., the Devils Tower, the Chaco Canyon, and the Grand Canyon). Since then more than 120 national monuments have been proclaimed by presidents of the United States, and thereby they contributed to American archaeology, the preservation of history, and the conser-vation of nature.

Hazlitt, William. On the Elgin Marbles. London: Hesperus 2008. IX, 75 pp. ISBN 978-1-84391-602-4. $11.86. William Hazlitt (1778–1830), one of the English master essayists of his age, wrote three es-says on the Elgin Marbles in 1822 and 1824. These eses-says are reproduced in this volume. Hazlitt is unconcerned with the provenance of the Marbles brought to England in 1806 and finally sold to the British Museum. Hazlitt rather looks at the Marbles as art objects and, in his first essay, develops 10 principles that result from them. These principles are explained in greater detail in his second essay. The last essay on the Elgin Marbles is called “Prose Style and the Elgin Marbles.” Four other essays on different art themes are included.

Heilmeyer, Wolf-Dieter. Zwanzig Jahre Berliner Erklärung—Illegale Archäologie, Leihgaben, Zusam-menarbeit [Twenty Years Berlin Declaration—Illegal Archaeology, Loans, Cooperation]. Wien: Manz 2008. 32 pp. ISBN 978-3-9502596-0-5. Y8.80. This is a lecture given in the Ludwig Boltzmann In-stitute for European Law headed by Professor Dr. Gerte Reichelt in Vienna. Wolf-Dieter Heilmeyer, retired director of the Museum of Art of the Ancient World in Berlin, recalled the Berlin Declaration of 1988, passed by the 13th International Congress of Classical Archaeology in Berlin. This decla-ration already stated that objects without any clear and impeccable provenance should not be ac-quired by museums, loans should be given by museums, even long-term loans, and cooperation is needed to return smuggled items that were illegally exported in recent years. This has been done by the Berlin Museums in favor of the museum in Ostia, Italy, and out of this cooperation grew many contacts and much confidence between the institutions.

Heres, Gerald. Dresdener Kunstsammlungen im 18. Jahrhundert [Dresden Art Collections in the 18th Century]. Leipzig: Seemann 2006. 232 pp., with many black and white and colored illustrations. ISBN-13: 978-3-86502-134-2. Y9.95. This is a book about the history of the famous art collection of Saxony in Dresden, Germany. This is the time of King August II (1697–1733) and King August III of Poland (1733–1763). who were electoral princes of Saxony at the same time. During this time the

collection of Dresden became known as one of the major galleries in Europe. Francesco Algarotti (1712–1764) acquired the Sistine Madonna for the collection and the collections of the Count of Modena, paintings from Venice and other cities. All this is diligently described, and makes this a standard book for the history of the Dresden collection in the eighteenth century.

Hoeren, Thomas, Bernd Holznagel, and Thomas Ernstschneider (eds.). Handbuch Kunst und Recht [Handbook Art and Law]. Frankfurt, Main: Lang 2008. 426 pp. ISBN 978-3-631-55544-6. Y49.80. This book reproduces student papers prepared for the Summer Academy of 2005 of the Studien-stiftung des Deutsches Volkes under the guidance of Thomas Hoeren and Bernd Holznagel and for a seminar of the University of Münster. In five sections the papers deal with copyright (i.e., with the droit de suite, collecting societies, restoration, and protection of design), art trade (i.e., with sale of art objects, bona fide purchase, and conflict of law—problems), galleries and museums (i.e., with loans and insurance of art objects), international protection of cultural property (i.e., with the so-called looted German art objects in Russia), and the perspective of the artist.

Holm, Kerstin. Rubens in Sibirien. Beutekunst aus Deutschland in der russischen Provinz [Rubens in Siberia. Looted Art of Germany in the Russian Country]. Berlin: Berlin Verlag 2008. 160 pp., 27 black and white illustrations. ISBN 978-3-8270-0728-5. Y18.00. The cultural correspondent of the Frankfurter Allgemeine Zeitung in Moscow writes about what in Germany is called “looted art” and what in Russia is called “because of World War II removed cultural property” and taken as “restitution in kind” and compensation for the damage done by German soldiers in Russia. She describes the development of this controversy, the planned Soviet booty museum, the discovery of the booty in 1991 by Akinsha and Koslow (reported in the ARTnews), the Russian legislation and jurisprudence on the Russian statute declaring unilaterally the German artworks as Russian resti-tution in kind, and the exhibition of looted art in Moscow and St. Petersburg. There is also a chapter on Rubens’ painting, Tarquinius and Lucrezia, stolen in Germany and, although folded, acquired bona fide by a private person in Russia. At the same time Holm ably describes the con-frontations of Russia with West European paintings, Soviet soldiers’ preferences for paintings of naked women, and the exhibition of Western European art in provincial art museums of Russia. Hutt, Sherry, Marion P. Forstyth, and David Tarler (eds.). Presenting Archaeology in Court. Legal Strat-egies for Protecting Cultural Resources. London: Altamira Press 2006. XVI, 245 pp. ISBN 978-0-7591-0909-4. £ 4.00. In 1979 Congress passed the Archaeological Resources Protection Act (ARPA), 16 U.S.C. §§ 470aa–470mm. This act was designed to resolve a variety of problems with looting as well as problems created by judicial interpretations of the Antiquities Act of 1906. Fifteen articles by twenty-two authors deal with the ARPA and international cases arising under the new legislation. Hutt, Sherry, and David Tarler (eds.). Yearbook of Cultural Property Law 2008. Walnut Creek, CA: Left Coast Press 2008. 310 pp. ISBN 978-1-59874-080-6. $56.20. The 2008 yearbook is a review of the year 2007 in the vibrant field of cultural property. It starts with an interview with the Italian prosecutor Paolo Ferri and continues with eight practice area sections: federal land management (James van Ness), state and local (Kelly Yasaitis Fanizzo), tribes, tribal land, and Indian arts (Rob Roy Smith), marine environment (Caroline M. Blanco), museum (Lucille A. Roussin), art market (Thomas R. Kline), international cultural property (Patty Gerstenblith), and enforcement actions (David Tarler). The first of three articles discusses ownership issues of archaeological objects (Kelly Yasaitis Fanizzo) and the second expounds on a proposed Model Tribal Cultural Resources Protec-tion Code (Trinidad Contreras). The third article outlines the case Rubin v. The Islamic Republic of Iran, in which a group of American plaintiffs (victims of a terror attack in Jerusalem on September 4, 1997) tried to execute their judgment against the Republic of Iran (James A. Wawrzyniak). A bibliography of books and articles published in 2007, notes on recognizing career achievements in cultural property protection (on Dr. Donny George Youkhanna, the former director of the National Museum in Baghdad, by Patty Gerstenblith and on W. Richard West, the founding director of the National Museum of the American Indian, by Lauryn H. Guttenplan), and a table of cases decided in 2007 conclude this valuable volume.

Institut du monde arabe, Paris, and Musée des Beaux-Arts, Arras (eds.). Bonaparte et l’Égypte, Feu et lumières [Bonaparte and Egypt. Fire and Light]. Paris: Hazan 2008. 420 pp., with many black and white and colored illustrations. ISBN 978-2-754-103022. Y59.00. This is a catalog of an exhibition in the Institut du monde arabe in Paris from October 14, 2008, to March 19, 2009. The exhibition has been curated equally by a French and Egyptian team of scholars. In seven sections different aspects of Napoleon’s presence in Egypt in 1798 to 1799 are described in detail and lavishly illustrated. The first chapter deals with Egypt before Napoleon’s landing on July 1, 1798, in Alexandria, Egypt. The second and biggest part is devoted to the military and scientific expedition of the French army and the scientific scholars accompanying the army and establishing the Institut d’Égypte, editing the Courrier de l’Égypte, and collecting the materials later published in the famous volumes of La De-scription de l’Égypte. The other parts of the exhibition and catalog deal with the creation of Egyp-tology in Europe, the longing for old Egypt, the artists, and the reign of Muhammad Ali, the vice-king of Egypt from 1805 to 1848 who also donated to France the obelisk on the Place de la Concorde in 1833, erected in 1836.

Johannsen, Rolf H., and Ute Barbara Ullrich (eds.). Dokumentation des Fremdbesitzes, Bd. II: Na-tionalgalerie, Gemälde und Skulpturen [Documentation of Foreign Holdings. Vol. II: National Gallery. Paintings and Sculptures]. Berlin: Staatliche Museen zu Berlin 2008. 170 pp., with more than 450 black and white illustrations. ISBN 978-3-88609-635-0. Y24.70. This is the latest result of the efforts by Berlin museums to ask for provenance of their holdings. The documentation is divided into three main sections: (1) works of art of state, city, or other public institutions, (2) private property of which the private owners could be located, and (3), the most extensive part, the artwork by un-known owners. The last part may not only comprise objects of former Jewish owners. During World War II also private Gentile owners were allowed to put their art treasures into the safe keeping of the treasures of public museums. Most works of art are works of unknown artists, paintings as well as sculptures. The entry of each work of art is accompanied with a detailed history of the objects as far as it have been reconstructed.

Jentsch, Ralph. Alfred Flechtheim und George Grosz. Zwei deutsche Schicksale [Alfred Flechtheim and George Grosz. Two German Fates]. Bonn: Weidle 2008. 171 pp., approximately 30 black and white illustrations. ISBN 978-3-938803-06-6. Y21.50. Alfred Flechtheim (1878–1937) was one of Berlin’s most important art dealers in modern art during the 1920s. He represented many modern French and German artists, such as George Grosz (1893–1959). The book by George Grosz’s executor tells the story of how Alfred Flechtheim was persecuted because of his Jewish origin and the work of George Grosz. He also deals with the restitution problems and the search for missing master pieces of the Flechtheim collection and works of Grosz.

Jonckheere, Koenraad. The Auction of King William’s Paintings 1713. Elite International Art Trade at the End of the Dutch Golden Age. Amsterdam: John Benjamins 2008. 371 pp., 144 colored and black and white illustrations. ISBN 978-90-272-4962-3. $338.00. The collection of Stadholder William III (1672–1702) of the Netherlands went under the hammer in Amsterdam on July 26, 1713. Organized by the renowned art collector and agent Jan van Breuningen with the assistance of Jan Pietersz Zomer, the foremost Amsterdam art broker, the auction was a virtual society event attended by a host of Dutch regents, agents, and diplomats as well as European noblemen and princes, including Elector Palatine Johann Wilhelm, Elector of Mainz Lothar Franz von Schönborn, Anton Ulrich Duke of Braunschweig, and James Brydges Duke of Chandos. They were all interested in the pictures from the gallery at Het Loo Palace, William III’s summer residence. This book, based on a doctoral thesis in art history of the Belgian author at the University of Amsterdam, sheds new light on the actual auction and its organization, placing it within the context of the international trade in art. It ex-plores the links between culture agents, art brokers, bankers, diplomats, and collectors. The fasci-nating story of this public sale serves as a means of analyzing the elite international art trade and its implementation at the end of the Dutch Golden Age. The first part of the book is devoted to the auction of 1713 itself and its organization, and the second and final part deals with art lovers with

domestic interest as well as foreigners as James Brydges, Lothar Franz von Schönborn, Johann Wil-helm von Pfalz-Neuburg, and Anton Ulrich von Braunschweig.

Jong, Leen de, et al (eds.). The Royal Museum of Fine Arts Antwerp. A History: 1810–2007. Oostkamp: Stichting Kunstboek 2008. 255 pp., with many black and white and colored illustrations. ISBN 978-90-5856-272-2. $40.95. In nine chapters the book tells the history of one of Belgium’s important art museums. Founded in 1810 the museum developed as a Royal Museum of Fine Arts to a big mu-seum of Flemish and other art objects. The following chapters deal with the history of mumu-seum housing, aspects of restoration, the museum and its audience, presentation and exhibitions, the mu-seum and patronage, and the mumu-seum as a scientific institution.

Kaiser Rudolf II. zu Gast in Dresden [Emperor Rudolf II as Guest in Dresden]. Dresden: Deutscher Kunstverlag 2007. 96 pp., many colored illustrations. ISBN 978-3-422-06789-9. Y14.90. Emperor Ru-dolf II (1576–1612), who had moved the royal court from Vienna to Prague, was an ardent art col-lector and a patron of arts. Part of his sculpture treasures, which are now in the Kunstkammer of the Kunsthistorisches Museum in Vienna, were exhibited in the Grünes Gewölbe of the State Collec-tions of Dresden. This is the catalog to this exhibition.

Kämper, Burkhard, and Hans-Werner Thönnes (eds.). Essener Gespräche zum Thema Staat und Kirche Bd. 41: Denkmalschutz und Denkmalpflege im kirchlichen Bereich [Essen Talks on State and Church, Vol. 41: Preservation of and Care for Monuments in the Ecclesiastical Sphere]. Münster: Aschendorff 2007. XI, 188 pp. ISBN 978-3-402-04372-1. Y34.80. This volume contains seven articles on the pres-ervation and maintenance of churches and of ecclesiastical monuments. Given in 2006 at a confer-ence in Essen, Germany, These reproduced papers deal with the recent problem that churches are too big and too numerous for a decreasing church-going population, and therefore parishes must think about a changed use of churches.

Kessler, Horst. Karl Haberstock. Umstrittener Kunsthändler und Mäzen [Karl Haberstock. Controver-sial Art Dealer and Patron]. München: Deutscher Kunstverlag 2008. 336 pp., with many black and white and colored illustrations. ISBN 978-3-422-06779-0. Y39,90. Karl Haberstock (1878–1956) was an art dealer before and after World War I and one of the most important dealers during the Nazi period. The son of a peasant near Augsburg, he began his professional career as a bank accountant. In 1903 he transitioned to be a merchant and very soon an art dealer. In 1907 he moved to Berlin and opened his gallery in 1912 in Bellevuestrasse 15. He was mainly interested in modern German artists such as Carl Schuch, Wilhelm Trübner, Fritz von Uhde, and Wilhelm Leibl. He sold many artworks of these painters to German museums. In 1933 he joined the Nationalsozialistische Deut-sche Arbeiterpartei (NSDAP), the Nazi party, was a member of the commission to use the confis-cated works of degenerate art, and recommended the Fischer Gallery in Lucerne for sale at auction. He sold only 169 paintings, mainly bought in France, for Hitler’s Linz Museum, whereas a Munich gallery sold 930 objects for the same purpose. He supported Hans Posse, the director of the Dres-dner Art Gallery and director in spe of the Linz Museum. With Hermann Voss, the successor of Posse, he did not come along. After World War II, Karl Haberstock was put into jail by the Allies, questioned about his profession, and finally released as not guilty. The works of art he still possessed were put into a foundation fund, which was enlarged after the death of his wife in 1983. The Karl and Magdalene Haberstock Foundation is owned by the City of Augsburg. The provenance of all the paintings held by the foundation has been checked during the last years so that all objects remaining in the foundation have clear title. The art objects of the Karl and Magdalene Haberstock-Foundation in the Schaezlerpalais in Augsburg are reproduced in the extensive annex to this book. Separate pa-pers on provenance were written by the well-known specialists Ute Haug (Hamburg) and Anja Heuss (Frankfurt).

Kohl, Christiane. Bilder eines Vaters. Die Kunst, die Nazis und das Geheimnis einer Familie [Pictures of a Father. The Art, the Nazis and the Secret of a Family]. München: Goldmann 2008. 310 pp., with 41 black and white illustrations. Y19.95. This is the story of Reinhold Meyer (1898–1965) persecuted

and expropriated by the Nazis. This book gives a vivid picture of Berlin before the Nazis came into power and a sad account of the Nazi years in Germany.

Koordinierungsstelle für Kulturgutverluste Magdeburg (ed.). Sammeln, Stiften, Fördern. Jüdische Mäzene in der deutschen Gesellschaft [Collecting, Donating, Sponsoring. Jewish Patrons in German So-ciety]. Madgeburg: Koordinierungsstelle 2008. 321 pp., with 27 mostly black and white illustrations, ISBN 978-3-9811367-3-9. Y26.00. In December 2006 a colloquium was held in Berlin about Jewish patrons of Germany. The present volume publishes the papers given at that colloquium. The papers consider Jewish patrons in general as well as single patrons such as James Simon of Berlin (sponsor of the Nefertiti and the German Oriental Society), the family Mosse, and the patrons of Breslau (Ismar Littmann), Dresden (Anna and Georg Arnhold, Victor von Klemperer, Felix Bondi, and Fritz Glaser), Frankfurt on Main (family von Rothschild), and Munich (Heinrich Thannhauser). The vol-ume concludes with the story of restitution and compensation.

Korbacher, Dagmar. Der Kenner im Museum Max J. Friedländer (1867–1958) [The Knowledgeable Person in the Museum Max J. Friedländer (1867–1958)]. Berlin: Staatliche Museen zu Berlin. Stiftung Preussischer Kulturbesitz 2008. 44 pp., many black and white illustrations. ISBN 978-3-88609-632-9. Y7.90. Fifty years ago Max Friedländer, the former director of the Berlin Cabinet of Engrav-ings, passed away in the Netherlands. In memory of this important art historian and master of Dutch art, the booklet is the companion guide to a small exhibition in the Berlin Art Gallery (Gemäldes-ammlung). In 1896 Friedländer became the assistant to the director of the National Gallery in Ber-lin. In 1904 he became the second director of the Art Gallery under Wilhelm von Bode (1845–1929), whom he succeeded in 1929 until his retirement in 1932. In 1933 he was fired because he was a Jew and lived in Berlin until 1939 when he decided to take refuge in the Netherlands. There he was received with honors. In 1958 he passed away in Amsterdam and was buried in Berlin’s cemetery Heerstrasse in a grave of honor.

Kort, Pamela. Ernst Ludwig Kirchner. Berlin Street Scene. New York: Neue Galerie New York 2008, 92 pp., many black and white and colored illustrations. ISBN 1-931794-16-2. $30.00. The painting Berlin Street Scene by Ernst Ludwig Kirchner (1880–1938) was acquired by the Neue Galerie and a private collector on November 8, 2006. They paid the highest price ever paid for a painting by Kirch-ner. The painting was restituted in 2006 by the Berlin Brücke Museum to the heirs of Tekla Hess, the former owner, who sold it under pressure in 1936. Since 2008 the painting has been one of the highlights of the Neue Galerie.

Köster, Gabriele. Künstler und ihre Brüder. Maler, Bildhauer und Architekten in den venezianischen Scuole Grandi (bis ca. 1600) [Artists and their Brothers. Painters, Sculptors and Architects in the Vene-tian Scuole Grandi (until ca. 1600)]. Berlin: Mann 2008. 641 pp., with 64 black and white illustra-tions. ISBN 978-3-786-1254-88. Y89.00. This book is a thesis in art history submitted and accepted by the Free University of Berlin. The book deals with art policy in Venice until 1600. Then the six big Scuole grandi (Santa Maria della Carità, Santa Maria della Misericordia, San Giovanni Evangelista, San Marco, San Rocco, and San Teodoro) were buildings of certain brotherhoods with social func-tions, solidarity between members, and welfare for the public. The book deals with the artist who decorated the Scuole grandi, especially Jacopo Tintoretto, the artist who decorated the Scuola grande di San Rocco in Venice, a must-see for everybody visiting Venice. Also the contracts of these artists are explained as well as their techniques for decorating the buildings.

Kreis, Georg. Zeitzeichen für die Ewigkeit. 300 Jahre schweizerische Denkmaltopografie [Signs of Time of Eternity. 300 Years of Swiss Topography of Monuments]. Zürich: NZZ Verlag 2008. 539 pp., 286 black and white illustrations. ISBN 978-3-03823-417-3. SFr. 58.00. The historian of the University of Basel explores the history, meaning, and significance of monuments in Switzerland. There are many such monuments in all cities and even villages, and there is still a demand to build new and restore old monuments. The historian treats major monuments in the first part and then continues with special types of monuments, institutional monuments, war monuments, and monuments of special persons.

Lehmann, Klaus-Dieter. Bild, Buch und Arche. Bibliothek und Museum im 21. Jahrhundert [Painting, Book and Ark. Library and Museum in the 21st Century]. Berlin: Berlin University Press 2008. 256 pp. ISBN 978-3-940432-20-9. Y27.90. These are collected essays of Klaus-Dieter Lehmann, who was pres-ident of the Foundation of Prussian Cultural Heritage from 1999 until 2008. These essays deal with the foundation itself with its 17 museums, the National Library (Staatsbibliothek), the Prussian State Archives, and several research institutes, as well as with several aspects of cultural life in Berlin, Germany, and Europe. He also touches on problems of restitution from Germany to persecuted Jewish citizens and—hopefully—from Russia (so-called Beutekunst or war-conditioned displaced cultural objects) and Poland (collection Berlinka in Krakow) to Germany. He also gave speeches on Jewish patrons and on Heinz Berggruen, Michael W. Blumenthal, the director of the Jewish Museum in Berlin and on Helmut Newton. The volume has an introduction by Hermann Parzinger, the suc-cessor of Klaus-Dieter Lehmann and former head of the German Archaeological Institute. Leopold Museum (ed.). Albin Egger-Lienz 1868–1926. Wien: Brandstätter 2008. 215 pp., many col-ored and black and white illustrations. ISBN 978-3-85033-187-6. Y49.90. This is a catalog of the exhibition of the work of the Austrian painter Albin Egger-Lienz at the occasion of his 140th birth-day in 2008. Egger-Lienz was a painter of peasants and rural life of the first quarter of the twentieth century. He was a competitor of the Swiss artist Ferdinand Hodler (1853–1918), which was cel-ebrated at the exhibition in Dresden inn 1912. The Egger-Lienz exhibition took place at the Leopold Museum in Vienna.

Lewinski, Silke von (ed.). Indigenous Heritage and Intellectual Property. Genetic Resources, Traditional Knowledge and Folklore. 2nd ed. Den Haag: Kluwer 2008. 568 pp. ISBN 9789041124920. Y165.00 or $218.00. Recognizing that the commercial exploitation of indigenous knowledge and resources takes place in the midst of a genuine and significant clash of cultures, the eight contributors to this book explore ways in which intellectual property law can expand to accommodate the interests of indig-enous people to their traditional knowledge, genetic resources, indigindig-enous names and designations, and folklore. In so doing they touch on such fundamental issues and concepts as collective rights to the living heritage, relevant human rights norms, benefit sharing in biological resources, farmers rights, the practical needs of documentation, assistance, and advice, the role of customary law, bio-prospecting and biopiracy, and public domain.

Lillie, Sophie, and Georg Gaugusch. Portrait of Adele Bloch-Bauer. New York: Neue Galerie New York 2008. 95 pp., with many black and white and colored illustrations. ISBN 1-931794-16-2. $30.00. Lillie and Gaugusch tell the tale of the Portrait of Adele Bloch-Bauer by Gustav Klimt (1862–1918), painted in 1907, which depicts Adele Bloch-Bauer (1881–1925), the wife of Ferdinand Bloch-Bauer (1864–1945), the wealthy Austrian sugar industrialist. The Jewish Bloch-Bauers were prosecuted and confiscated after the Anschluss in 1938. The portrait was taken out of the family palace in Vienna, Elizabethstrasse 18, and sold to the museum Oberes Belvedere in 1941. In 2006 an arbitration award was handed down, recognizing ownership of Maria Altmann, niece of Ferdinand Bloch-Bauer; and passed it to her. She sold the painting to the Neue Galerie in 2006 and since then it is the Mona Lisa of the Museum of German and Austrian Art in New York.

Lillteicher, Jürgen. Raub, Recht und Restitution. Die Rückerstattung jüdischen Eigentums in der frühen Bundesrepublik [Robbery, Law and Restitution. The Restitution of Jewish Property in the Early Federal Republic]. Göttingen: Wallstein 2007. 559 pp. ISBN 978-3-8353-0134-4. Y45.75. This is a history of restitution of Jewish property in Germany. The author, an experienced researcher of restitution, dis-tinguishes four different phases in the history of restitution in Germany. The first phase dates from 1945 to 1952 and can be characterized as between restitution pressure by the Allies and the German policy of dealing with the past. The second phase (1952–1957) may be called the first results and reactive policy as well as the end of hope for a quick end of restitution. In the third phase (1957– 1964), restitution was fully in the hands of the Federal Republic and subject to fiscal policy and restrictive practice despite changed circumstances. It was only in the fourth phase (1964–1974) that restitution was qualified as a sort of Vergangenheitsbewältigung in a restrictive sense. The present